Mission: Impossible – Rogue Nation is the fifth installment in the series and quite possibly the most daring one yet. That is not an easy feat when you consider all of the unbelievable action sequences that have transpired since the original nearly 20 years ago. Ethan Hunt (Tom Cruise) finds himself coming up against a new emerging threat called the Syndicate, a group of highly skilled operatives who execute an escalating series of terrorist attacks bent on establishing a new world order. Faced with what may be the most impossible mission yet, Ethan gathers his team and is inevitably forced to work alongside Ilsa Faust (Rebecca Ferguson), a renounced British agent who may or may not be a member of this deadly rogue nation.Let me start off by saying Tom Cruise still has it. The man is nothing short of a thrill seeker and an adrenaline junkie but then again this is to be expected from a man who hung from the world’s tallest building. Once again, he delivers with the promise of some extreme sequences that will leave everyone on the edge of their seats. Mission: Impossible – Rogue Nation is another globetrotting adventure that leaves its mark on Ethan Hunt and his team as they attempt to navigate a world filled with mistrust and uncertainty. The opening sequence is unexpected and really sets the tone for the insanity of the entire film. Simon Pegg is still on point as the comic relief with great retorts as is the rest of the returning cast though they aren’t as heavily featured as before. Rebecca Ferguson is a great addition and holds her own especially in one scene nearing the end. The villain played by Sean Harris is pretty stereotypical and feels like a Bond villain, who can come across as out of place but is nevertheless unsettling and fun to watch pitted against Ethan. There are a lot of things you could nitpick about this movie but ultimately it is an entertaining ride. I saw it earlier this week in IMAX with a packed theater and that made the whole experience much more enjoyable.The action sequences are plentiful in this movie and are sprinkled throughout. I should warn you that the plane stunt heavily promoted in the trailers doesn’t really go beyond what you’ve already seen but I can guarantee it will still make you squirm in your seat. It doesn’t really matter because there’s more than enough in this film to keep you satiated. The underwater sequence deserves special mention because there’s a moment when everyone in the theater let out an audible gasp. We’re all well aware that Ethan will likely survive any absurd scenario that plagues him but it’s still tense in the moment. There is also a brutal knife fight following a shootout at night in London, a suspenseful incident at an opera in Vienna and a motorcycle chase at breakneck speed through the streets of Morocco. Tom Cruise is a great actor as movies like Jerry Maguire,Collateral and Rain Man have demonstrated but the Mission: Impossible films has shown off his incredible physical prowess like no other. Knowing that nearly every action sequence is shot practically, featuring him and not a stunt double makes the experience all the more enthralling. Whether Mission: Impossible – Rogue Nation is the definitive movie in the series is hard for me to say but you should absolutely check it out to decide for yourself.

This week’s episode, entitled “Church in Ruins” managed to top last week’s episode, raising the stakes to a whole new level. The action was on point, the dialogue was surprisingly simple and manageable, and the themes were dark and twisted.

With only two more episodes left, “Church in Ruins” had a lot to accomplish in an hour: the rather sluggish detective plot needed to make significant progress. In order to further investigate claims of secret hooker parties attended by rich and powerful men, Bezzerides decides to go undercover as a hooker in order to infiltrate one of these parties. The resulting orgy scene is probably one of the most suspenseful and disturbing scenes in television history. I was constantly fearing for Bezzerides’ safety as she wandered through a crowd of immoral men with no inhibitions.

Overall, this episode ratcheted up the tension through several Mexican standoffs, and placing its characters in uncomfortable situations, no doubt preparing for the finale. Velcoro goes on a drug-addled bender as his hopes for ever winning custody of his son wane. His pure despair over the hopelessness of his situation is only matched by his animalistic pleasure of indulging his cocaine and alcohol habits. At this point, it seems like Velcoro has very little to live for. Frank Semyon spends most of his time looking for leads in the criminal world while muttering more pretentious dialogue.

Rachel McAdams and Colin Farrell both really showed off their acting chops this episode. Velcoro’s pain feel so visceral and relatable, despite the fact that Velcoro has done plenty of immoral things throughout his career. I have struggled to relate to Bezzerides for most of the season, since I felt her character was rather humorless and flat. However, her courage and fear, conveyed by McAdam’s carefully controlled body language really won me over. The only decision that worried me a little this episode was revealing that Bezzerides was a victim of childhood sexual abuse. Nic Pizzolatto has long been criticized for his treatment of female characters, and if this revelation is not dealt with the sensitivity and respect it deserves, it could certainly damage his reputation.

All in all, this episode really resounded with me, as the season begins to close out. Darkness is encroaching on the detectives, and they will need to find a way to beat back the corruption. It finally feels like events of consequence are occurring, and hopefully this trend continues, so that this rather rocky season can have a strong finale.

Grade: A-

This article is part of an ongoing series. Click here for a review of last week's episode, and check back each week for a review of each new episode.

Click here to read Neel Shah's review of season one of True Detective.

Paper Towns is an original teenage love story set in Orlando, FL. It's based of the book of the same name by John Green, who also wrote The Fault in Our Stars and Looking for Alaska. Quentin (Nat Wolff, the blind guy in The Fault in Our Stars) has been in love with his neighbour, Margo (model Cara Delevigne) ever since she moved in when they were kids. Friends for a short period of time, they nevertheless grew up to be very different. Q turned into a shy, straight A student, while Margo is more of a rebel, run away girl and high school legend.

It’s the last weeks of senior year of high school, and one night Margo climbs Quentin’s window, as she used to when they were kids. She’s asking for his help to accomplish her personal vendetta, promising “the best night of his life.” While Margo gets her revenge, Quentin definitely lives the craziest night of his life. The end of their tour reveals a side that Margo was hidding: she’s tired of everything surrounding her, and completely lost. It seems like she’s just playing with Quentin, but it’s more like she’s trying to teach him that life can, and should be enjoyed.

The next morning though, Margo is nowhere to be found. Thinking it’s another of her mysterious games, Quentin starts investigating to find the girl that stole his heart. Helped by his two best friends, Ben and Radar, the investigation rather turns into exciting first-time life experiences, such as skipping class and going to a party. Once Quentin figured out where Margo is (or so he thinks) he, Ben and Radar, Margo’s hot BF Lacey and a last-minute guest embark in a crazy roadtrip to get Margo back to her life.

The movie is absolutely cliché, and starts off quite badly, but turns out to be pretty funny. In the end, it’s more a story of a group of friends enjoying their senior year -- and life -- for the first time, and finding themselves in comical situations, than a cheesy romance. One of the guys has his first sexual experience, another finally gets a prom date, Ansel Elgort (Gus in The Fault in Our Stars) is a dragon-tattooed gas station cashier, and everybody almost dies because of a cow in the middle of the road. So as they say, it’s really more about enjoying the journey than getting to the destination.

Southpaw comes from Antoine Fuqua, the director of Training Day, one of my favorite crime thrillers. Jake Gyllenhaal (Donnie Darko, Prisoners and Nightcrawler) plays Billy Hope, a reigning boxer with a caring family and an impeccable career as the World Heavyweight champion. After being taunted into a brawl by an upstart boxer, an unspeakable tragedy strikes and Billy hits rock bottom, losing everything that matters to him. He seeks the help of Titus Wills (Forest Whitaker, The Butler and The Last King of Scotland) and begins a redemptive path towards making things right with loved ones and finding glory in the ring again.

I’m torn about this movie because there is really only one remarkable component to it and that is Jake Gyllenhaal. He delivers a superb performance and is the only reason to go see this movie. I strongly believe that he brought depth to a character that would have probably been forgettable in the hands of a lesser actor. Billy is a hothead who wears his heart on his sleeve and has no problem letting people know exactly what’s on his mind. He lashes out at every turn and is emotionally unstable which only heightens after his life spirals out of control. Southpaw does a great job of balancing your sympathy for Billy because he is somewhat responsible for his downfall but just doesn’t know any better. He gets put through the ringer and is hanging on by a thread. The man loses his house, his manager, his wife and above all his sanity. His daughter’s love and respect matters more than anything he has lost and it is heartbreaking when she doesn’t want to see him after being claimed by social services. She berates him for his mistakes and it is clear that this hurts Billy more than any punch in the ring could.

Billy starts training with Titus and slowly understands the need to keep his rage in check while in the ring. His chance at wiping the slate clean comes with a shot at the Lightweight belt and he has to learn how to channel his energy in a different way. This is representative of the emotional change he goes through as the shift in his attitude and technique from brash to lithe demonstrates. There is an awesome training montage set to Eminem’s new single “Phenomenal” which captures the determined look in Billy’s eyes to put his personal demons to rest. I should also mention that some moments are visually striking such as the close-ups of Billy’s battered physique. Everything from the bloodstained eyes and the bleeding nose to the countless stiches on his face is incredible and will not go unnoticed.

Southpaw doesn’t have much else going for it because its story doesn’t live up to the numerous films that have come before it. Forest Whitaker and the rest of the supporting cast are fine in the movie but fade away against Gyllenhaal. The film folds out predictably with no sudden twists and no real meat to the story. The storytelling is nothing extraordinary and possesses no unique hook that makes it stand out from past influences. Furthermore, Billy is absent from certain scenes and this detracts from the film because you’re reminded of how bland everything else is. Southpaw isn’t the best boxing movie you’ll see but it is definitely a fascinating and brutal look at an individual’s crumbling life. The final fight sequence is intense, particularly the last few minutes, which the audience remained quiet throughout.

Southpaw won’t be remembered as an iconic movie with company like Raging Bull, Million Dollar Baby and The Fighter but as an example that Jake Gyllenhaal is undoubtedly one of the best actors of this generation and can elevate a mediocre film with a deeply engrossing performance.

This week’s episode, entitled “Other Lives” is arguably one of the best episodes this season, finally getting in touch with some of the magic that made season 1 so amazing. However, there is a sense of inadequacy, like even the successes of this episode are too little, too late to salvage the rest of this season.This episodes takes place 66 days after the shootout at the end of the last episode. This time skip, a dramatic technique borrowed from last season, is actually rather effective, allowing the audience to skip what most likely was a lot of red-tape and report writing. In the aftermath of the firefight, the murder of Ben Caspere pinned on a Mexican pimp and gangster, who pawned possessions from Caspere’s house. In light of an impending state investigation, Velcoro quit the Vinci PD force to avoid criminal charges. Bezzerides receives a demotion and punishment duty after an IA probe, and Woodrugh gets a nice promotion and a cushy desk job as a state detective for valor in the firefight. This episode really had some nice elements. Although objectively, Woodrugh makes out the best out of the three detectives in the aftermath of shootout, he is clearly unhappy with the humdrum routine of domestic life and desk duty. His bitterness, confusion and anger is fully released on his creepy mother, who has been exploiting him for years. His explosion of emotion is almost cathartic, and provides greater depth and context to his character. However, what really makes this episode exceptional was how it reveals the “sprawl” of the conspiracy surrounding the death of Ben Caspere. Suddenly everything is connected, from the loss of Semyon’s money, to the Russian gangsters, to the outside interests on the railway corridor, to the disappearance of a young woman at a hooker party known to be frequented by powerful men. This is what makes True Detective great: conspiracies. For a shining 20 minutes, season 2 grasped some of the greatness of its predecessor. This growing conspiracy was revealed by some diligent detective work by our three main officers, which had been sorely lacking in the first four episodes.All in all, this episode made me a little melancholy, because it showed me the greatness that this season could have achieved. The detective work was on point and the conspiracy was rich and engrossing. However, this episode made the first four feel like an utter waste of time, since so little was accomplished. If the last three episodes are like “Other Lives” maybe I can call season 2 mediocre instead of an utter failure.Grade: A-

This article is part of an ongoing series. Click here for a review of last week's episode, and check back each week for a review of each new episode.

Click here to read Neel Shah's review of season one of True Detective.

In 1996, Marvel filed for Chapter 11-bankruptcy protection and was on the brink of being forgotten. Cut to two decades later and the company is the complete antithesis of that. Three of the movies produced by Marvel Studios have crossed the $1 billion mark at the box office and have cracked the top ten highest grossing movies of all time so it isn’t much of a stretch to say they’re doing well for themselves. I’m a fan of these movies but with the ridiculous number of upcoming superhero films, I have to admit that superhero fatigue is likely to become (if not already) a very real thing that many moviegoers will experience. Marvel’s latest entry, Ant-Man, feels like a response to that criticism. It might just be the studio’s weirdest movie yet which is strong enough to stand out from past and future superhero films to come.

Just released from prison, master thief Scott Lang (Paul Rudd) is recruited by Dr. Hank Pym (Michael Douglass) after being forced out of his own company by former protégé Darren Cross. Lang becomes the Ant-Man, trained by Pym and armed with a unique suit that allows him to shrink in size, possess superhuman strength and control an army of ants. The miniature hero must use his new skills to prevent the same technology from being used as a weapon for evil.

Ant-Man is very much a heist film and a hysterically funny one at that. The funniest dialogue comes from Michael Peña who plays a member of Scott’s old gang and is only a third of the incompetent criminals who haplessly help the hero plan this crucial job. Still, Rudd is the star here and he does a great job of playing the reluctant hero and queing us into this insanity that enters his life. The first time, Scott shrinks down is a mesmerizing experience that perfectly captures the feeling of being overwhelmed and gives us a terrifying glimpse into the everyday ant’s perspective. There aren’t as many of these moments as I would have liked to see but the scenarios we witness are nothing short of inspired and hands down some of the best visual effects you’ll ever see on the big screen.

The stakes aren’t that high but then again they don’t really need to be as they match Scott’s limitations in the Ant-Man suit, which are perfectly defined. There is a great surprise in store for viewers when Scott is caught breaking and entering by a certain Avenger and has to face him, head-on. The movie does suffer from a few minor issues though. The humor can be laid on a bit too thick. There’s a particular scene towards the end (you can’t possibly miss it) that draws a huge laugh but it comes out of nowhere and is just way too over the top. There are a few references to past movies but thankfully not to the point where it becomes overbearing. The Stan Lee cameo is great and probably one of the more amusing ones to catch. Some exposition in the middle slows down the film as Pym explains the technology and dangers of the suit. There is also the obligatory training montage that Scott undergoes and is oddly reminiscent of the original Iron Man from 2008. However, the movie has some fantastic action sequences including two near the end. One takes place in a locked briefcase plummeting from the sky and the other on a model train set in Scott’s daughter’s bedroom. The perspectives are often switched, making the sequences seem somewhat pointless but also serve to encapsulate Ant-Man’s abilities.My favorite movie from the studio is still Guardians of the Galaxy but Ant-Man comes dangerously close to giving it a run for its money. It doesn’t matter if you’re invested in the Marvel Cinematic Universe or just interested in seeing a fresh and original story. Ant-Man is a hilarious movie that proves superhero films when done right are still engaging blockbusters that will delight and entertain audiences. So go see it this weekend with a big crowd because I suspect Ant-Man will quickly become a fan favorite and will fit right in Marvel’s ongoing story.

And of course most people stayed behind to watch the post-credits scene, which is a good albeit short one that sets up what might be in store for Earth’s tiniest hero. Grade: B+

I should preface this by saying I’m not a big fan of romantic comedies; they were the movies that never really resonated with me because they seemed so formulaic and didn’t really go out of their way to catch you off guard. So I’m pleasantly surprised that Judd Apatow (Knocked Up, Superbad and Bridesmaids) has produced Trainwreck, which definitely stands out from the crowd with its honest script and genuine performances across the board.

The movie’s opening scene does a great job of establishing Amy (Amy Schumer) as a promiscuous magazine writer who does her best to maintain a commitment free lifestyle. However that quickly falls away once she begins writing an opinion piece about charming sports doctor Aaron Connor (Bill Hader) who is her polar opposite in many ways. Hader’s awkward character is endearing and strikes up a romance with Amy who decides to take a chance on him and deviate from her usual short-lived flings. The two seem perfect for each other but their insecurities stand in the way of this being an easy relationship.

The supporting cast is great as well, notably LeBron James who makes his film debut, plays himself and is an absolute scene-stealer anytime he is on screen. Sports fans can look forward to the multitude of inside jokes revolving around his career and his friendship with Aaron is played up for laughs as he portrays what can be best described as an overprotective and sensitive individual. Similarly, Amy’s relationship with her sister Kim (Brie Larson) is a great dynamic that highlights her deeply rooted insecurities as they struggle to care for their aging father. I should also mention that there are a lot of great cameos throughout the movie that are worth being on the lookout for. John Cena has a brief role as Amy’s boyfriend Steven and has what I think is safe to say perhaps one of the most memorable sequences of the entire film.

Trainwreck is not without its faults. While the majority of the jokes are vulgar in nature which aptly suits the film’s distinct voice, a few of them go a bit far as the many gasps of horror I heard around me can testify. Ultimately, this just might come down to a matter of taste but it can appear that some moments are purely thrown in for shock value rather than true hilarity. Furthermore, sometimes it feels that Aaron’s inhibitions aren’t fully fledged out. For instance, other than fearing that he might be too meek in comparison to some of Amy’s exes, Aaron doesn’t really have much going against him. Then again Amy shines throughout and is put in the spotlight.

But Trainwreck entertains more than it disappoints and paces well. Much of the humor is topical and there is a lot of brilliant physical comedy that you would come to expect from Schumer and Hader including a scene where the latter performs surgery on LeBron. The writing is relatively good but the pair do a splendid job of elevating the material when needed. It’s strange to say but despite its crude humor, Trainwreck has a lot of heart and there are moments in the relationship that should be very relatable to modern audiences.

In the end Trainwreck stands on its own two feet and delivers in spades when it comes to getting the big laughs. The movie possesses an endless amount of quirky and inspired moments, be it a group of surgeons at work whilst listening to Billy Joel’s “Uptown Girl” or a hysterical sight gag involving John Cena. Some might find it too raunchy but most, I suspect, will have a great time watching Schumer and Hader bounce off one another. Personally, I can say that Trainwreck is greater than the sum of its parts and is a step in the right direction to restoring my interest in the rom com genre. Grade: B+

Please note: the following article contains SPOILERS. You have been warned.

Well, this week’s True Detective proves that the show stills had some life left in it. In this reasonably effective episode, the three officers managed to make some headway on the homicide investigation.

In my opinion, one problem with the first three episodes of the second season is that the three detectives seem to make little progress in the mystery, and aimlessly wander in circles, lost in their own misery and trauma. However, “Down Will Come” manages to remedy this problem by finally providing a major break in the investigation, thanks to a lucky find in a pawn shop. The officers finally have a tangible suspect and quickly follow in pursuit.

However, this lucky break in the case is not actually the most interesting part of the episode. The most interesting part of the episode is watching Officer Woodrugh’s ever increasing self-destructive spiral as he wakes up from a drunken night with a male prostitute, only to find that his bike has been stolen and his rather shady past with the mercenary group “Black Mountain” has been revealed to the media. Watching him struggle with his own self-loathing over the war crimes he committed in Afghanistan and his shame over his own sexuality is compelling and heartbreaking. Woodrugh hasn’t broken quite yet, but the way his character arc is playing out, I anticipate an emotional climax very soon. In addition, Woodrugh was not the emotional star of the episode, as Velcoro has a small but very touching scene with his son.

There were many elements of this episode that I loved: the great emotional plotlines, the progress of the homicide investigation, and the brutal shootout scene at the end. There is one major concern I have that keeps on growing from episode to episode: How will they manage to neatly tie up all the major plotlines by episode eight? The issue is that there are way too many plotlines to follow; the homicide investigation, the theft of Semyon’s money, the missing girl, Velcoro’s child, Woodrugh’s trauma and many others. I fear that True Detective has become rather over ambitious, and will not be able to cleanly or even satisfactorily close off the series. The fact that I have this concern halfway through the season does not bode well. My hope is evaporating.

Grade: B-

This article is part of an ongoing series. Click here for a review of last week's episode, and check back each week for a review of each new episode.

Click here to read Neel Shah's review of season one of True Detective.

Batkid Begins is a documentary about solidarity, support, and the power of media. It tells how a 5-year-old fighting leukemia, Miles, became Batman, and how San Fransisco was transformed into Gotham City for a day. It all hapened thanks to the Make-A-Wish foundation, which aims at giving a sick children “some of their childhood back.”

The documentary follows the different team members that took part in the dream realization, and shows that what first was an ambitious idea, and nothing but a sick child’s dream, actually became an international attraction supported by thousands of strangers. Indeed, Miles’ story happened to resonate for many people, unleashing an insane media coverage: tweets, emails, phone calls, interviews, press articles, and so on. Batkid Begins achieves in relaying the momentum of solidarity the organizers experienced: as soon as the story got out, they became overwhelmed by messages of support, and people asking “what can I do?”

This documentary shows some of the American mentality in a nutshell, as it appears to my French eyes: very supportive, getting excited over an idea they believe in, and getting to become a part of it -- in this case, posting on social media, and actually taking the time to show up, with handmade signs, joy and enthusiasm.

Batkid Beginsexplores -- voluntary or not -- the notion that what you give out of solidarity is actually returned to you in well-being; that helping others is actually helping yourself. The documentary leaves you with a strong sensation that nothing’s impossible; especially with the technology now surrounding us: a simple idea can go viral, and if people care, they will support you.

When people try to guess what my all-time favorite movie is, they don’t usually get it right on the first try. I’ll save you the trouble and tell you now: it’s Goodfellas. The psyche of these drug-dealing mobsters, willing to betray their closest friends and family for the sake of power and money, has always been fascinating to me. But it leaves me wondering: what about the people who produce and transport these drugs? Who are they, and are they motivated by the same things? Cartel Land, directed and produced by Matthew Heineman (also executive produced by Kathryn Bigelow), gives a first-hand look at the parties involved in the Mexican Drug War that has been taking place over the last several years.In the very first scene, we meet some of the drug makers themselves. One of them admits that they know very well what they’re doing is wrong, but they have no choice; they’re poor and have no means of making a decent living. The Mexican state of Michoacán is being terrorized by the Knights Templar Drug Cartel, and the corrupt government is doing nothing to save its civilians from being tortured and killed. We learn the story of thirteen lime farmers (most of them members of the same family, and some of them children) who were maimed and killed because their employer could not afford to pay the money the cartel demanded of him.

Enter Jose Manuel Mireles, leader of the armed civilian group Autodefensas, and Tim “Nailer” Foley, leader of the Arizona Border Recon, which aims to prevent drug traffickers from crossing the U.S. border. While the two men seem very different, they share a common goal. They both distrust their government, and while they are far from perfect, they hold themselves to certain principles (for example, Mireles warns his men against being overeager to resort to violence and killing, for fear of becoming like their enemy). I’m in awe of Matthew Heineman’s work on this film. I can’t remember another documentary I’ve seen in which the camera gets so close to the action--Heineman actually placed himself in danger in order to capture such intense moments as a shootout between two sides. His use of close-ups not only makes us feel as though we are a part of what’s happening, they help us to understand the characters as people, which is important in a film that could easily get caught up showing only violence instead of the people it affects.Whether or not you know much about the Drug War, I encourage you to watch this excellent documentary. It has an almost dystopian feel to it--the government is entirely corrupted, and the civilians have no one to rely on but themselves. There were many times that I almost forgot this was a documentary, because it seems to be the stuff of fiction--but there is something about it that always served as a reality check: the good guys and bad guys aren’t always black and white, and sometimes, the good guys don’t win.Grade: A